The Godfather: opening scene

BONASERA: I believe in America. America has made my fortune. And I raised my daughter in the American fashion. I gave her freedom, but – I taught her never to dishonor her family. She found a boyfriend; not an Italian. She went to the movies with him; she stayed out late. I didn’t protest. Two months ago, he took her for a drive, with another boyfriend. They made her drink whiskey. And then they tried to take advantage of her. She resisted. She kept her honor. So they beat her, like an animal. When I went to the hospital, her nose was broken. Her jaw was shattered, held together by wire. She couldn’t even weep because of the pain. But I wept. Why did I weep? She was the light of my life – beautiful girl. Now she will never be beautiful again. Sorry…

[Bonasera, taking the drink, sips from the shot glass]

I – I went to the police, like a good American. These two boys were brought to trial. The judge sentenced them to three years in prison – suspended sentence. Suspended sentence! They went free that very day! I stood in the courtroom like a fool. And those two bastards, they smiled at me. Then I said to my wife, “for justice, we must go to Don Corleone.”

VITO CORLEONE: Why did you go to the police? Why didn’t you come to me first?

BONASERA: What do you want of me? Tell me anything. But do what I beg you to do.

VITO CORLEONE: What is that?

BONASERA: I want them dead.

VITO CORLEONE: That I cannot do.

BONASERA: I’ll give you anything you ask.

VITO CORLEONE: We’ve known each other many years, but this is the first time you came to me for counsel, for help. I can’t remember the last time that you invited me to your house for a cup of coffee, even though my wife is godmother to your only child. But let’s be frank here: you never wanted my friendship. And uh, you were afraid to be in my debt.

BONASERA: I didn’t want to get into trouble.

VITO CORLEONE: I understand. You found paradise in America, had a good trade, made a good living. The police protected you; and there were courts of law. And you didn’t need a friend of me. But uh, now you come to me and you say – “Don Corleone give me justice.” – But you don’t ask with respect. You don’t offer friendship. You don’t even think to call me Godfather. Instead, you come into my house on the day my daughter is to be married, and you uh ask me to do murder, for money.

BONASERA: I ask you for justice.

VITO CORLEONE: That is not justice; your daughter is still alive.

BONASERA: Then they can suffer then, as she suffers. How much shall I pay you?

VITO CORLEONE: Bonasera… Bonasera… What have I ever done to make you treat me so disrespectfully? Had you come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And that by chance if an honest man such as yourself should make enemies, then they would become my enemies. And then they would fear you.

BONASERA: Be my friend – Godfather?

VITO CORLEONE: Good. Some day, and that day may never come, I’ll call upon you to do a service for me. But uh, until that day – accept this justice as a gift on my daughter’s wedding day.

BONASERA: Grazie, Godfather.

VITO CORLEONE: Prego. 

Sleeping Woman with a Black Vase – A long-lost painting returns

The story of the painting entitled Sleeping Woman with a Black Vase by renowned Hungarian avant-garde painter Róbert Berényi (1887-1953) could definitely be made into a movie. And it was actually thanks to Hollywood that this work of art was rediscovered, restored and exhibited at Virág Judit Art Gallery at the end of November 2014.

The painting is dated between 1924-28 and all that was left of it was a black-and-white reproduction made for an exhibition in 1928. Last Christmas, however, a painting caught Gergely Barki’s eye while watching the movie Stuart Little with his daughter. The art historian couldn’t believe his eyes: there was the long-lost painting, hanging above the fireplace in a children’s movie! After Christmas Barki immediately started the hunt for the work of art, which had last been exhibited at the Ernst Museum, Budapest in 1928.

Letters to Sony Pictures, the film director and the stage designer revealed that the painting was no longer in the possession of the studio. Barki didn’t give up and after several weeks of investigation he managed to contact the stage designer’s assistant, who had originally bought the painting for the set. Lisa Sessions was looking for a suitable painting and bought one by an “unknown artist” from an art dealer in Pasadena, California. It turned out that she liked the painting so much she tried to buy it after they finished shooting the film. However, the studio wanted to keep it in case a sequel to the movie was to be made, and a couple of years later they lent it for the shooting of a soap opera. At that point everybody thought it was just a copy and not worth much.

Luckily, an old colleague of Lisa’s managed to trace the painting down at the studio and she bought it half-price – a real bargain, considering now it’s worth tens of millions of HUF. When another friend of Lisa’s came to Budapest and saw another painting by Berényi, the famous Woman Playing the Violoncello, she recognized the similarities between the two works of art. It’s not difficult to spot them, as the model for both was the painter’s second wife, Eta Breuer. These two paintings were exhibited along with another work by Berényi, the Sleeping Woman with a Fox at Virág Judit Art Gallery until the middle of December.

The majority of Berényi’s works is on display in the National Gallery, with several paintings exhibited in museums in Pécs and Székesfehérvár. Nobody knows how the Sleeping Woman with a Black Vase ended up in the United States, so there is a 70-year-gap in the painting’s history. But the last chapter is very exciting: Barki met Lisa in a Washington park and had to borrow a screwdriver from a hot dog seller in order to take the frame off. And, as he hoped, he found the stamp of the Munkácsy Guild on the back of the painting, certifying that was the original painting that had been exhibited in 1928.

1. The painting Sleeping Woman with a Black Vase was created by a famous Hungarian artist.
2. Gergely Barki discovered the painting while watching a documentary.
3. The painting was last shown in an exhibition in Budapest in 1928.
4. Lisa Sessions initially bought the painting from a well-known artist.
5. The painting was thought to be a copy for many years.
6. Barki found a stamp on the back of the painting that confirmed its authenticity.
7. The majority of Berényi’s works are displayed in a private collection.

Correct Answers:

1 – True – The text states that the painting was created by renowned Hungarian avant-garde painter Róbert Berényi.

2 – False – The text mentions that Barki discovered the painting while watching the movie Stuart Little, not a documentary.

3 – True – The text indicates that the painting was last exhibited at the Ernst Museum in Budapest in 1928.

4 – False – The text states that Lisa bought the painting from an art dealer and referred to it as being by an “unknown artist.”

5 – True – The text explains that many believed it was just a copy and not worth much for years.

6 – True – The text mentions that Barki found the stamp of the Munkácsy Guild on the back of the painting, certifying its authenticity.

7 – False – The text states that the majority of Berényi’s works are on display in the National Gallery, not a private collection.

For Kurt Russell and son Wyatt Russell, starring together in the new series ’Monarch: Legacy of Monsters’ provided them with a unique opportunity to play the same character in two different time periods.

’Monarch: Legacy of Monsters’ tracks two siblings following in their father’s footsteps to uncover their family’s connection to the secretive organization known as Monarch. The pair follow clues that lead them to uncover events from the 1950s, involving Officer Lee Shaw, and through the present, when the organization is threatened by what an older Shaw knows about their machinations.

The dramatic saga – spanning three generations – reveals buried secrets and how epic, earth-shattering events can reverberate through our lives.

“I suddenly found myself saying, ‘God, well, Wyatt’s gonna create this character, and I’m going to play him later on in life, so its gotta all make sense,” Kurt shared. “And I suddenly realized I’ve watched him all his life, but I’ve never examined him.”

Wyatt said: “The challenge was to make you care about the characters and have real depth, so that was what we took on. And it was fun to be able to do that. It was fun to be able to do it with my dad.”

source: ET online

Vampires are among us! At least in the newest Hungarian box office hit, Drakulics elvtárs (Comrade Drakulich) from the writer-director of Isteni műszak (Heavenly Shift), Márk Bodzsár. If you love dark humour, vampires and the ‘70s, you will not want to miss this production. Let’s see what will bring us in front of the big screens this season.

Vampires in the ‘70s

Márk Bodzsár’s new movie will take you back to Hungary in the 1970s and will spice things up with a mysterious bloodsucking creature. In this retro-vampire-comedy, there will be no shortage of humour, crime and exciting adventures. A strange new being arrives in Hungary and is wanted by the secret service. This newcomer is surrounded by secrets and apparently the special power of being ageless. Agents are working day and night trying to catch the creature and uncover his secrets. 

All of your favourite actors in one movie

Head over to the cinemas and discover many familiar faces in Comrade Drakulich. Starring Ervin Nagy, Zsolt Nagy, and Lili Walters, the show invites you for an immersive cinematic experience. Among the strong cast, you can find Szabolcs Thuróczy as the leading agent, Alexandra Borbély, Tibor Bödőcs, Móni Balsai, Roland Rába, and many other talented actors and actresses, trying to solve this twisted mystery of comrade Drakulich.

A story as you’d never seen before

Prepare some garlic, cover your neck and don’t be fooled by vampire tricks. Although they are among the people the counterintelligence is working hard and is already following their wake trying to stop them. Comrade Drakulich presents a story of vampires as you’d never seen before. Eventful, humorous and dark – everything you need to enjoy the hunt. 

The story starts with comrade Fábián’s (played by Zsolt Nagy) visit to Hungary to open a blood donation event. However, something is clearly wrong with him. Comrade Fábián is supposed to be an old warrior man, but instead, he appears to be a handsome 30-something young gent. His cool style and attractive look are irresistible for young women. He drives a blood-red Mustang and he is tireless in bed – which makes him even more wanted. The counterintelligence wants to have what he has: the ability to stop ageing. However, agents will have to fight the battle as comrade Fábián is not willing to give away his secret to them. 

The only way to catch Fábián is by getting close to him. One of the agents, Mária (played by Lili Walters) attempts to gain the suspect’s confidence while becoming more confident herself. Meanwhile, her boyfriend, Laci (played by Ervin Nagy) can’t help but go crazy of jealousy while trying to help his love on the field. Comrade Esvégh (played by Szabolcs Thuróczy) is leading the operation with more or less success as he has limited experience in hunting vampires. 

They all work for one goal: figuring out the secret of the eternal comrade and why he is longing for the female comrades’ delicately curved necks. No training can prepare the secret agents and spies for what is about to happen…

Find out how the story ends and what comrade Fábián’s secret is and how your favourite secret agents will handle this new kind of mystery. Head over to the closest movie theatre and take your family for a funny and twisting feature film. 

by Kitti Bába

Hollywood legend Kirk Douglas, the star of such films as “Spartacus” and “The Vikings,” turns 100 today after a long movie career that has stretched across seven decades.

Douglas was one of the biggest box-office stars of the 1950s and ’60s and has made more than 90 movies. He also played a major role in breaking the Hollywood blacklist – actors, directors and writers who were shunned professionally because of links to the communist movement in the 1950s – an act he was more proud of than any film he made.

In his youth, Douglas had a distinctive chin, razor-sharp cheekbones and a jutting jaw – looks that he has passed along to son Michael, who also became a star – and that made him a natural for playing all manner of rugged characters.

Douglas also had a demanding nature that earned him a reputation in his prime as the actor who directed directors. Long-time friend and sometime co-star Burt Lancaster loved to introduce him by saying, “Kirk would be the first to admit he is a difficult person. (Pause) I would be the second.”

Douglas said playing Vincent van Gogh in “Lust for Life” (1956) was his favorite role but “Spartacus” (1960) was his favorite film because, as producer, he took a big step toward breaking the Hollywood blacklist.

A stroke in March of 1996 left Douglas with slurred speech and damaged facial nerves. But two weeks later he showed his spirit by attending the Academy Awards ceremony to receive a Lifetime Achievement Award. He also continued to take small acting roles through 2008 but said the stroke left him suicidal.

The lifetime Oscar was Douglas’ only Academy Award even though he was nominated for playing ruthless boxer Midge Kelly in “Champion” (1949), a movie executive in “The Bad and the Beautiful” (1952) and van Gogh in “Lust for Life.”

Douglas’ first movie was “The Strange Love of Martha Ivers,” in 1946 after being suggested for the part by acting school classmate Betty Joan Perske, who would find fame after changing her name to Lauren Bacall.

Douglas was known for powerful performances as characters who had to endure intense on-screen pain. He was stabbed in “Ace in the Hole,” crucified in “Spartacus,” lost an eye in “The Vikings,” an ear in “Lust for Life,” and a finger in “The Big Sky.”

Born Issur Danielovich on Dec. 9, 1916, in Amsterdam, New York, Douglas was the only son of seven children born to illiterate Russian immigrants.

After graduating from high school, he hitch-hiked to St. Lawrence University in Canton, New York, where he became a wrestling champion. He also staged and starred in theatrical productions, changing his name to Izzy Demsy.

After St. Lawrence, he graduated from New York’s American Academy of Dramatic Arts in 1941 and changed his name to Kirk Douglas. He joined the Navy following two small Broadway roles.

While in the Navy he married British actress Diana Dill and they had two sons, Michael and Joel, before the marriage ended after eight years.

Douglas had a reputation as a Hollywood ladies’ man. Among the lovers listed in the 1988 book “The Ragman’s Son,” one of several books he wrote about his life, were Joan Crawford, Marlene Dietrich, Rita Hayworth, Marilyn Maxwell, Patricial Neal and Gene Tierney.

While making “Act of Love” in 1953, Douglas met and married Anne Buydens, the film’s publicist. Their marriage became one of Hollywood’s most enduring despite his affairs. They had two sons, Peter and Eric.

Douglas, who survived a 1991 helicopter crash that killed two people, tried to discourage his children from following him into acting. Still, Michael became a superstar and a successful producer, Joel and Peter also were producers and Eric was an actor until his 2004 death from a drug overdose.

Douglas, who grew a long white ponytail in his later years, published several books, including a book of poetry, prose and photographs at age 98 in 2014.

He established the Douglas Foundation for making charitable donations and in 2015 he and Anne announced plans to give away his $80 million fortune to a variety of causes. The beneficiaries included a shelter for homeless women named after Anne, the Los Angeles public school district, St. Lawrence University and hospitals.

To mark his 99th birthday in 2015 he donated $15 million to the Motion Picture and Television Fund to help build a facility for entertainment industry figures with Alzheimer’s disease.

source: dailyrecord.co.uk

BABY: So where’d you learn to be a dancer?

JOHNNY: Well, this guy came into this luncheonette one day and… we were all sitting around doing nothing. And he said that Arthur Murray was giving a test for instructors. So, if you passed… they teach you different dances, show you how to break them down, teach them.

BABY: What? No.

JOHNNY: Good. No, no, don’t look down. Look here. Good. And…

Now, bend your knees and go up. Go, go. Good try. Now, you’ll hurt me if you don’t trust me, all right? Now, go, go. Go. Good. Now, I’m gonna go up.

Bruce Channel: “Hey Baby”

Hey, hey, hey baby
I wanna know
if you’ll be my girl.
Hey, hey, hey baby
I wanna know
if you’ll be my girl.

When I saw you walking
down the street
I said that’s the kind of
gal I’d like to meet.
She’s so pretty
Lord, she’s fine
I’m gonna make her mine, all mine.

Hey, hey, hey baby

I wanna know
if you’ll be my girl.
 

When you turned and
walked away
that’s when I wanted to say
come on baby give me a whirl
I wanna know if you’ll be my girl.

EDWARD What is this?

CARTER Give it back.

EDWARD What is it?

CARTER Give it back.

EDWARD It was on the floor. I didn’t know it was a state secret.

CARTER (sighs) My freshman philosophy professor assigned this exercise in forward thinking. We called it a bucket list. We were supposed to make a list of all the things we wanted to do in our lives before we…

EDWARD … before you ‘kick the bucket.’ Cutesy.

CARTER Back then I wrote things down like, ‘Make a million dollars.’ ‘First black president.’ Young man’s wishes. I was gonna redo the list, but then…

EDWARD (reading) ‘Help a complete stranger for the good.’ ‘Laugh until I cry.’ Not to be judgmental, but — This is extremely weak.

CARTER Yeah, well, it’s pointless now.

EDWARD I would argue the exact opposite.

CARTER What are you doing?

EDWARD A little rewrite, that’s all. I mean, don’t you want to go out with some balls? Guns blazing? Have a little fun?

CARTER It’s not supposed to be about guns blazing, or anything like that– You’re missing the point.

EDWARD What the hell is ‘something majestic‘?

CARTER You ever been to the Himalayas?

EDWARD ‘Drive a Mustang Shelby’ not bad. I got one, all right. How ’bout skydiving? Now we’re onto something.

CARTER We’re onto something. Let me see that. ‘Kiss the most beautiful girl in the world’? How you propose doing that?

EDWARD Volume.

CARTER Get a tattoo? Is that the sum of your ambition? I’ve taken baths deeper than you.

EDWARD It’s easy to be deep in freshman philosophy. What’d Dr. Hollins say? We’ve got months, right?

CARTER A year, maybe.

EDWARD You think forty-five years went by fast? We could do this. We should do this. Don’t think about money. That’s all I got is money.

CARTER I don’t know, I —

EDWARD What don’t you know?

CARTER It was meant to be metaphorical, you know, just trying to get a handle on.

EDWARD Blah, blah, blah. Metaphors. You’re the one cryin’ you never took a shot. Here’s your chance.

CARTER A chance to what? To make a fool of myself?

EDWARD Never too late. What do you think happens now? I go back and sit around listening to people talk about mezzanine financing and subordinated debt, pretending that I care about dead money. You go home to some ceremonial processional into death, with everyone standing around watching you die while you try to comfort them. Is that what you want, to be smothered by pity and grief? Well, not me. And, in your heart, Carter, I believe not you either. We’re both in the same boat. How’s that for a metaphor? We got a real opportunity here.

CARTER Opportunity. That’s real twisted. Even by your standards.

EDWARD We still feel good, right? Energy’s coming back. We’re not in pain. Asymptomatic, the doc says. The way I see it, we can lie around here hoping for a miracle in some bullshit science experiment… or we can put some moves on.

CARTER Skydiving, huh?

EDWARD All right, hahahaha!

HELEN: And then we’re going to the MGM Grand Wet Republic Ultra Pool. The people from the Real World go there all the time.

LILLIAN: I’m so excited! Hey buddy, how ya doin’?

ANNIE: I’m goooood. I’m so much more relaxed now. Thank you Helen. I just feel like I’m excited, I’m relaxed, I’m ready to paaaaarrrtttyyyy…

(starts singing)

…with the best of them. And I’m

gonna go down to the river!

LILLIAN: Wow, it looks like someone is really relaxing now.

ANNIE: What are you guys talking about up here?

HELEN: We’re going to a restaurant tonight, I know the owner…

ANNIE: You do? Oooh, Helen. Woo woo. Helen knows the owner. Big whoop.

LILLIAN: Hey Annie, let’s go take a nap. What do you say?

MALE FLIGHT ATTENDANT: Miss, you cannot be up here.

ANNIE: Hello grandpa. I’m sorry, I just want to be up here with my friends. I’m with this group.

LILLIAN: Yeah, can she just stay up here for a while? The sign’s off.

MALE FLIGHT ATTENDANT: No. Coach passengers aren’t allowed up here in first class. It’s policy. Sorry.

ANNIE: Gosh, this plane is very strict. Welcome to Germany. Okay, I’m gonna go take a nap.

LILLIAN: I think that’s a good idea.

ANNIE: Catch you on the flip side m****s!

LILLIAN: I’m sorry, she’s –

ANNIE: I’m leaving. This should be open, it’s civil rights. This is the 90’s.

MALE FLIGHT ATTENDANT: Right, it’s not. You’re in the wrong decade.

ANNIE: You are.

MALE FLIGHT ATTENDANT: Okay right, I am.

LILLIAN: Holy s***, what did you give her?

MALE FLIGHT ATTENDANT: Miss.

ANNIE: No, it’s not me.

MALE FLIGHT ATTENDANT: Yes, it’s you. Please go back to your seat.

ANNIE: I’m with him. I’m Mrs. Iglesias.

MALE FLIGHT ATTENDANT: No you’re not. You were just up here and you put sunglasses on. Out.

ANNIE: I don’t want to.

HELEN: She can have my seat. Everyone should experience first class in their lives and I don’t want Annie to miss out just because she couldn’t afford a ticket.

FEMALE FLIGHT ATTENDANT: I’m afraid it’s not allowed, ma’am.

ANNIE: Help me, I’m poor.

LILLIAN: Please. We’re a whole wedding party, I’m the bride. I’m getting married. The seat is empty. She’s obviously nervous. We’ll calm her down.

MALE FLIGHT ATTENDANT: I understand, but Claire is right –

ANNIE: Everyone get back to your seats.

MALE FLIGHT ATTENDANT: You especially. You have three seconds to get back to your seat.

ANNIE: You can’t get anywhere in three seconds.

MALE FLIGHT ATTENDANT: Well, you’ve gotta try.

ANNIE: You’re setting me up for a loss already. Whatever you say… (reading his name tag) Stove.

MALE FLIGHT ATTENDANT: It’s Steve.

ANNIE: Stove, what kind of name is that.

MALE FLIGHT ATTENDANT: That’s not a name. My name is Steve.

ANNIE: Are you an appliance?

MALE FLIGHT ATTENDANT: No, I’m a man and my name is Steve.

ANNIE: You’re a flight attendant.

MALE FLIGHT ATTENDANT: That’s absolutely accurate.

Their separate lives cross paths near the end of the movie but getting there is the fun as the narrative mixes intertwining sub-plots reminiscent of Marshall’s previous all-star comedies New Year’s Eve and Valentine’s Day.

Co-starring in Mother’s Day, besides Sudeikis and Aniston, are Julia Roberts, Kate Hudson, Margo Martindale, Timothy Olyphant and Hector Elizondo.

As a change of pace, the movie includes modern day references, such as gay marriage, but mostly the tone is Marshall mainstream, which Sudeikis, 40, and Aniston, 47, embrace.

Previously, the Saturday Night Live veteran and the Friends sitcom star worked together on The Bounty Hunter, Horrible Bosses and its sequel, and We’re the Millers.

For their fifth film, they made themselves available at a Beverly Hills hotel suite to discuss their thoughts:

 On working for the iconic Marshall, who was also show runner on the classic sitcoms Happy Days, The Odd Couple and Laverne and Shirley: 

“Garry Marshall was the reason I think most of us said ‘yes’ to this movie,” says Aniston. “Without even reading a script, I think we said, ‘Yep.’”

On the director’s past and present reputation from Pretty Woman to Happy Days:

“He’s had so much influence over modern comedy the last 50 years, whether it be on TV or films,” Sudeikis says. “To make him laugh feels really, really good.”

On Marshall’s ability to orchestrate an ensemble:

“Garry really does a beautiful job on touching all of the different scenarios of what the family unit looks like today,” Aniston says.

On acting opposite friends Hudson and Roberts:

“It was kind of a tease,” says Aniston. “I only had a day with Julia and two days with Kate.”

“I’ve known Kate for, gosh, almost 20 years and I’ve never had the opportunity to do something together with her or Julia, so I was just over the moon… although I wish we had more together.”

On the Aniston and Sudeikis bond:

“Well, we have fun together,” Aniston says. “He makes me laugh.”

“Vice versa,” says Sudeikis.

“And it’s in our contract,” says a smiling Aniston.

“Yeah, it’s part of our deal,” Sudeikis says. “I get to ride her coattails for as long as I am possibly capable.”

Adds Aniston more seriously: “It’s years of knowing each other, feeling comfortable.”

On the first 30 minutes of introducing Mother’s Day characters:

“Laying pipe,” says Aniston.

“That’s the industry term,” explains Sudeikis “Setting stuff up, and then you just trust the scene and the person you’re performing with.”

On their mothers:

“She has a great sense of humor, and so does dad,” says Aniston. “And I’m a nervous driver (like my mother).”

“You were even nervous answering that,” Sudeikis says.

“I’ve always had an appreciation for my mom being a single mom,” says Aniston, whose parents divorced. “That’s not lost on me.”

“Luckily, it didn’t take this movie for me to realize that same thing,” Sudeikis says.

On whether Aniston will ever become a mom:

“Is this the child question?” she says. “Well, when and if there’s a child in the picture, I would probably celebrate Mother’s Day but that, you know …”

source: news.nationalpost.com